Archive for the 'Performance' Category

Piano Recital

Evgeny Ukhanov

Friday 30th April, 2010, from 7 to 10pm

Serial Space

Recital, 15mins

Evgeny Ukhanov was born in the Ukraine in 1982 and from the age of 11 has given concerts, both solo and with orchestras in Romania, Russia, Ukraine, Australia, France, England, Japan, Germany and the USA. In 1998 Evgeny came to Australia on a music scholarship.

Evgeny has played regularly with orchestras in Australia such as Sydney Symphony Orchestra, Sydney Sinfonia Orchestra, Sydney Youth Orchestra, SBS Orchestra and many others. He has also appeared several times on ABC television and ABC FM radio station, including “Rising Stars” programme in 2006 and 2008, on SBS television “Prodigy” in 2001, and 2MBS FM. Evgeny performs regularly in Cairns and annually at the Western Sydney Festival of Piano alongside other high-profile pianists such as Roger Woodward and Leslie Howard.

In 2001 he had an honor of being invited to play at the Governor’s Reception for Australia Day and perform a Gershwin “Rhapsody in Blue” with an orchestra. Evgeny played for the German Prime Minister in Magdeburg in 2002. In 2004 he performed at the Chinese Australian Forum with a special Guest of Honour, Leader of the Federal Opposition Kim Beasley, in 2005 for the Governor of Queensland – Her Excellency Quentin Bryce at the Parliament House in Brisbane, and recently for Her Excellency the Governor of NSW Professor Marie Bashir at Government House. He has also performed at numerous charity events including Red Cross International.

Evgeny has participated in several Festivals in Australia and abroad including Rachmaninov and Chopin festivals in Sydney. In 1999 he took part in a “Prom” Concert as part of the Festival of Sydney at Sydney Town Hall.

Evgeny has performed a lot of chamber works, and worked with some of the leading violinists and cellists in Sydney, such as Julian Smiles and Dene Olding, members of the Golden String Quartet. In 2003 he was an official accompanist for the “Master Performers of Australia” Competition in Sydney.

His last performance at the Sydney Opera House in 2005 was sold out and received great reviews.

Recently Evgeny has recorded chamber music for ABC Classic FM in Melbourne, and completed a series of recitals for the “Fireside Festival”, Canberra Region, and is planning to record CD of contemporary works.

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Headwater

Chris Caines, Jes Tyrrell, Shannon O’Neill

Thursday 29th April, 2010

From 3.30 – 5.30pm

Bon Marche Studio (UTS, Bldg. 3, Lvl. 1, Rm. 105)

Performance: 30mins

Headwater is a live AV performance by The Field (Chris Caines, Shannon O’Neill & Jes Tyrrell). Building on the performance done as part of Liquid Architecture 09 and Memory Flows at CarriageWorks where The Field used material from Memory Flows artists (via the ABC Pool website) and custom generated sound and vision, the new work in development to be presented in progress at Open Fields will then be presented at the Armoury Olympic Park in mid May. The piece responds to the natural history of that location. Audio and video field recordings of the site and the Parramatta river environs and wider environmental sources combine to provide the source material for a live performance of the sound and image of the landscape itself.


A Disembodied Voice In [5.1 Surround Sound Radio] Space

Colin Black

Thursday, 29th April, from 3.30pm-5.30pm

Bon Marche Studio (Bldg. 3, Lvl. 1, Rm. 105)

Performance: 10mins.

A Disembodied Voice In [5.1 Surround Sound Radio] Space
(programme duration 7 minutes, could be set on loop playback)
By Colin Black

The theme of radio and the voices of the dead – or spirits – have emerged time and time again within radio works, but very little radio art work has been developed that utilises 5.1 surround sound production and broadcast techniques.  With this work I artistically explore the idea of “A Disembodied Voice In Space,” within the added space or dimension of 5.1 surround sound, as opposed to the monophonic or stereophonic “acoustic frame” that has been chiefly used to date.  The work creates an immersive sonic environment that takes the listener inside its constructed sonic world, where the disembodied voice thematically develops the notion of the formless body and instantaneous travel via thought and desire.

Text, musical composition and sound effects (including location sound recordings) are given equal weighting within A Disembodied Voice In [5.1 Surround Sound Radio] Space. The work’s sound world is an aural space that is both influenced by reality and distorted by the idea of the spirit world; to achieve this pluralistic aural space the work’s sonority was created by blending techniques from both electroacoustic music and musique concrète.

An important aspect of A Disembodied Voice In [5.1 Surround Sound Radio] Space was to create a surreal sound world, and this was achieved by taking audio recordings relevant to the project and processing/filtering them to create electroacoustic music for the new work. A range of filters where employed including: spectral processing effects, granular, phase, delay and convolution reverb.

While the location recordings may be encoded with natural sounds, when these recordings are treated and/or juxtaposed with the electroacoustic music, the resulting balance helps to form the work’s pluralistic sound world that is a confluence between this world and another.

Internationally acclaimed composer/sound artist Colin Black won the prestigious Prix Italia Award (2003) in the category Best “Music Radio – Composed Work” for composing and producing his major work The Ears Outside My Listening Room.  BBC Radio 3 described this work as “a haunting evocation of Australia”, while the Prix Italia Award’s International Jury Report states that it, “… lived up to the claim ‚” that here was a patchwork sonic quilt that can be passed down the generations.”

For more information see www.colinblack.com.au

A show and tell of my time living in Philadelphia in the latter half of 2009.

Nick Keys

Thursday 29 April, 7pm-10pm

Serial Space

Performance: 30 minutes

I want to follow on from the old name for Open Fields, show and tell. The basic premise would be to do a show and tell of my time living in Philadelphia in the latter half of 2009. Beyond the basic premise, it’s hard to say what will happen, since I will just talk, but there are some things I want to think through whilst talking, like what could anyone possibly mean by the word “America”, or “American”? You could wander through many open fields trying to think that one through, which I will. There’s lots of nice places to stop off at, and interesting people along the way. There’s the possibility of meeting some of them in a live scenario via Skype, which could be fun.


For various reasons, mostly to do with not paying rent, Nick Keys has recently moved to North Sydney. He has found that because of a certain body of water and a certain habitat of accumulated wealth, the psychogeography of North Sydney makes it a lot further north than it really is. You might find yourself in St. Ives just thinking about it.

Marco Negri: The many ways in which I am a fish.

Adam Lippmann

Thursday April 29, 7pm – 8pm

Serial Space

In 2008, Marco Negri, intrigued by the behaviour of Russian tourists he observed while working at an island resort in Malta, travelled indirectly to Tomsk, taking up a teaching position there in philosophy, often remaining within its walls for fear of wild dogs fighting each other in the square to kill, which he would observe out of his office window. This intrigue along intangible lines through psychologies, landscapes, observances, and experiences culminated in his encounter with the music of Aleksandr Skryabin, which appeared to contain, explain, or be a product of dynamics he had intuited, observed, or experienced.

As per directions, this dialogue is littered with performances from the prelude cycles of Skryabin and presents the thought of Negri, particularly the celestial dynamic of “oscillation” and “The many ways in which I am fish”.

Performance: 30 minustes

Adam is a UTS DCA student interested in the poetics of 19th Century German (language) Literature, alive in the writing of W.G.Sebald and films of Alexander Kluge. He is currently writing his first feature filmscript, “The Sea of Vapours” on the life of Rudolf Hess, and the moon.

Touching Ghosts

Alyssa Critchley

Thursday 29th April, 2010, from 7pm

Serial Space

Performance: 20mins

At Sydney’s margins are buildings where the ghosts of things that once transpired can be felt as “seething presence” (Gordon 1997, p. 17). Where autonomous performance has taken place — buildings that reverberate with experimental noise; that swell with people eager to hear music, to see a kinaesthetic blur, to feel the tug of the performers and what they create, and to be amongst a crowd and feel hot breath collect on the back of one’s neck. These places have names like Yvonne Ruve, Dirty Shirlows and Serial Space.

Over the past year I have visited and re-visited such sites – at times of performance, on weeknights when the sounds are only those of machinery and workers in factories surrounding, at times after tenants have been evicted and signs of habitation have been stripped away – makeshift curtains no longer on small utilitarian windows. I had come back to these places in order to touch and feel a history there and to write – to perform – such histories. This history of autonomous performance would be one made from memory, collected from unfurling tongues performing again experiences of autonomous performance culture in places of performance, memories that are embedded in the sounds, smells, sights, textures and sense of place.

Foregrounding place, I was able to write in a way that performed histories of both Yvonne Ruve and Lanfranchis Memorial Discotheque, utilising mimetic excess to allow my words to become more than representative, to become instead visceral links into the subject (Taussig). I sought to gain a closer bodily connection with my subjects – these places and this performance culture. With abundant, felt description I wrote to do real justice to the subject and to avoid seating myself in a position of judgement above the subject. I wanted to affect and be affected in writing this history rather than explaining autonomous performance culture and the places this culture inhabits … haunts. But while the words performed the textures, the sights, smells, sense of place, could we get closer to the subject through not only writing performatively, but performing these words back in the place. What would we call such a performance whereby the ghosts of place are conjured in that very place – a séance, perhaps, where words that perform are cast out and we wait to be affected.

What I propose is to perform a ‘séance’ within Serial Space – to perform histories of the site within the place in which they happened. To use ‘word magic’ of mimetic excess to allow the space to affect us (Taussig). In doing so, we should realise the power of place and the power of words beyond representation. I will be calling upon oral histories, upon Kathleen Stewart’s work on affective places, Michael Taussig’s work on mimetic excess, Della Pollock’s work on performance, performative writing, and oral history and Avery Gordon’s work on place and haunting. The history of Serial Space will be performed within Serial Space, but should not be mistaken for a definitive history. I will ask for those willing to share further experiences, memories, textures, sights, sounds, senses of the place to add their memories. In this way, history is always a process of emergence, not a static, unchangeable fact waiting to be illuminated. Fact with be bypassed, traded in for a different kind of history more concerned with affect, in particular the affect of place.


Signs and Signifiers: A Personalised Symbology in Composing New Music With Styles and Genres

Michael Knopf

Friday 30 April, 2010, from 10 to 12 am

Bon Marche Studio (UTS Bldg. 3, Lvl. 1, Rm. 105)

Performance: 20 mins

Although eclecticism, crossover and style synthesis in music have been integral to music’s expansion and development and particularly so in the past century and a half, there has been little formal investigation into the use of genre and style in composition. The ubiquitousness of this creative practice is undoubted, but as a field of study, it is necessary to have the creative and craft processes brought into focus.

My doctoral research into composing with styles and genres analyses and identifies established and emergent techniques and concepts within the composer’s operational craft. It also pursues understandings through reflection by the composer on the work.

This presentation, entitled Signs and Signifiers: A Personalised Symbology in Composing New Music With Styles and Genres, will present the composer’s mental and spiritual associations with the creative processes followed by the experience of a live performance of movement from the new work The New Earth Concerto for Guitar and Orchestra (substituted by audio-file backing).

Michael Knopf is a composer and concert guitarist whose eclectic interests have allowed the unfoldment of new styles of guitar playing and a new field of formal study in composition, that of composing with styles and genres.